Painting anatomy

- [Voiceover] Now that we have a pretty good base,let's use some of our brushes topaint some focal points and some zombie anatomy.Now becomes the fun part, in my opinion.Let's go ahead and back out a little bitand we're going to select this skull.Hold down the Alt button andjust kind of drag it out into our scene.We can just keep it here if we need tobut sometimes I like to get a littlebit more up close with it.And we'll just size it down by hitting Command + Tand grabbing one of the corners there.

And the biggest thing we're going to do hereis we're going to look at this andtranslate the information onto the face.And sometimes, it's helpful to, let's go backto Command + T, rotate it a little bit,just so when we bring some of these shapesdown into the face, there's kind of anatural relationships happening andit's easier for us to kind of understandwhat's happening, or what's going on there.So, first go ahead and grab one of thosebrushes that you created.I made a couple more but they're allkind of the same process and so,this is kind of that gross, nasty woundbrush that we made and what I like aboutthis is it's already kind of textured andit's gonna make for some reallynice shapes to begin with.

Now, we can use any brush at this pointbecause we're gonna be usingthe blur tool to kind of help soften some things.But go ahead and create a new layeron top of your zombie.And what you're gonna wanna do hereis in this new layer, hold down the Alt buttonand try to grab some of those mauve colorsthat you see underneath the eye.You don't want something super lightbecause we're gonna be paintingshadows right now but maybe somethingkind of in between and it's alsodependent on the sides so we've gotkind of this unique light range happeningon the right side of the face andof course we have the shadowson the left side of the faceso what we're gonna choose forshadow depth over here is maybesomething, you know, a little bit darker.

But try to keep that redness intothe colors that you select.That's kind of the biggest thing here.And what I'm gonna do is I'm gonnatake a look at this cheek boneand sometimes I like to map overthe top of it just with my pen toolso I can kind of get the feel of the stroke.Okay, and then I'm gonna come over hereand just try to implement that a little bit.Now obviously, it's probably not gonna be as strongas the shapes we're seeing on the actual skullbut we still want it to be, you know, becausethere is skin covering the top of the skull stillso it's gonna be a little bit softerthan, you know, some of these harsheredges that we're seeing.

But some of these areas, I just kind of want to go inand play around with a little bit.And don't forget the orbital bone.It's gonna come in and drop downright about in there and I also recommendthere's all kinds of anatomy reference onlinethat would be really helpful for this.But a lot of times you can get what you needjust by having a good skull reference.So, all right, let's go back and grab someof this darker color over here.And just try to write it from the nose a little bit.You don't want to really connect ittoo harsh right through there.

Okay, you want to keep it kind of softand allow it to feel more like there's skincoming up over the top.Let's throw a little bit of color right in there.Okay, and you can already see that it's startingto feel a little bit more intensejust by adding some of these colors.And I'm being really soft with the pen pressure,just barely pushing down.I don't want to get too intense too soon.

And I'm just kind of using the Alt button to jumpback and forth from one side and the other.I find that it's a little bit easier to, in my work flow,to jump back and forth versus focuson one side and then go to the other.But that's just a personal preference.And then right here, the top of the nose,I always like to throw in a little bitof a color variation there, okay.And as you notice what's dark up here,what creates a shadow down here,down on the lip, it's not gonna work.So, that's why you always have to keepthat Alt button handy, kind of make sureyou're choosing the right shadows for the area.

Another thing we wanna do is,we're eventually gonna get some bonesand some meat showing underneaththe skin so now would be a good timeto kind of lightly sketch out maybesome of these areas of interest.And this is going to be one of those thingsthat it's kind of a balance, you know,you wanna make sure that maybe over herewe have some exposed bone, maybe right hereon the lip I want to show some of thatteeth coming through, and you just don't want themall on one side or the other.Sometimes on a zombie it's good to havea good mix of a lot of different things.

We'll have some exposed meatmaybe in this hairline and you can see thatI've got some balance where this is going to bea darker spot and then if I have this beinga focal point over by the cheekbone on the left,and then have it go to, you know,the left of, well, his left, our right, of his lip.It gives you kind of this nice back and forth,zigzag movement to take the eyeand kind of refocus it.So, something like this I think would besome great sights to put in these woundsand to move forward with.

So, one more thing, as you guys arekind of blending these together,there's this really neat thing you can dowith the Blur Tool.So, by default, it's set to this, it's set to blur.And I want you to go down to the Smudge Tool.And that's the tool we're gonna be using.Go ahead in your brush stack and justselect one of these that has kind ofa texture, we'll go with this guy,and then with your Smudge Tool selected,go into Brush and we'll give it a little bitmore spacing and we'll alsogo into Scattering and we just want itto look something like that to where there's a little bitof a pull and a press from one shape to the next.

And then what we can do iswe can grab some of this and just really lightly,one more thing, go ahead and go backto Shape Dynamics and you can set yourSize Jitter to Pen Pressure.Dial up the mininum diameter so that you have a little bitof variance from the size and you cango in here and what this does iscreates a little bit of a blendaround some of these shapes.So, you'll notice that I'm attackingsome of these really crude drawn outsketches and it's blending it seemlesslyinto the face there.

So, you'll have to do a little bit of both,using a texture brush and using thistextured smudge tooland you can just kind of play around.As long as this is on a separate layer,you're not gonna do that much damageto what's underneath and so if you need to,you can restart this process and try again.And the biggest thing is just to kind ofmake sure you're pulling out that skeletal informationso that you have kind of a goodzombie base to move forward with.This looks great.Now let's use our skull reference image to expose some bone.

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Released

3/17/2016

Zombies are the most clichéd monsters on the planet, but somehow we still love the idea of being chased by the undead. With Adobe Photoshop, it's easy to turn photos of friends, family, or yourself into a zombie nightmare come true.

Creature creator Rayce Bird, the winner of Face Off, shows how to take a normal portrait and turn it into a hideously frightening zombie with Photoshop. He starts at the very beginning: finding the right image to zombify. He then shifts to "preparing the canvas," where he makes some initial adjustments to get the image going in the right scary direction. From there, it's all about the details, including teeth, veins, bone, blood, color correction, and the proper lighting. In the end, members will have a perfectly horrific zombie version of themselves.